Building a Collection #45
Rigoletto
By Giuseppe Verdi
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“Our mistake, you see, was to write interminable large operas, which had to fill an entire evening. And now along comes someone with a one or two-act opera without all that pompous nonsense - that was a happy reform.”
-Giuseppe Verdi
Welcome back! We have progressed all the way to #45 in our Building a Collection of the top 250 classical works of all-time. The first Verdi opera on our list is Rigoletto, a three-act opera completed in 1851 which would go on to become one of Verdi’s most beloved operas.
Giuseppe Verdi
Giuseppe Verdi was born in 1813 in Le Roncole, Italy and died in 1901 in Milan, Italy. Certainly, one of the greatest opera composers in history, Verdi perfected Italian opera, taking the genre to new heights dramatically and musically. Considered among the greats in alongside Mozart, Wagner, and Puccini, Verdi lives on in the many performances of his greatest works including Rigoletto, La Traviata, Il Trovatore, Aida, Otello, Falstaff, and his Messa da Requiem.
Verdi showed early musical talent on the piano, and by the age of 15 had already begun composing. After the Milan Conservatory turned him away, he studied privately with several well-known teachers. In 1839, after moving full-time to Milan, he composed his first opera Oberto. Oberto was a success, but his second effort, Un giorno di regno, was a failure. Worse yet, after tragically losing his two children in previous years, his wife died leaving Verdi alone and depressed. In the immediate years after his wife’s death, Verdi attempted to rebound with the operas Nabucco, I Lombardi, Macbeth, and Luisa Miller in a series of mostly successful productions.
In the period 1851 through 1853, Verdi wrote three of his most popular operas, Il Trovatore, La Traviata, and Rigoletto. Although Il Trovatore and Rigoletto were immediate successes, La Traviata was not well-received initially. After some revisions, it too became a great success. For a time Verdi was involved in politics, and this became evident in his next works, Simon Boccanegra and Un Ballo in Maschera. By now he was well established as one of the greatest composers of his time, and the public eagerly awaited his new works. In the 1860s, Verdi composed La forza del destino and Don Carlos, both premiered in St. Petersburg.
Verdi moved permanently to Genoa, Italy and composed Aida in 1870, which was a great success. But the composer gave up opera for a period of time thereafter, composing his String Quartet and Messa da Requiem in the 1870s. After a long opera gap, he turned out another opera in Otello in 1886 and then his final opera Falstaff in 1893. Falstaff, a bold and creative comic opera, became one of his greatest triumphs. In his final years, Verdi founded a hospital and a home for retired musicians. He retired to live at the Grand Hotel in Milan, composing his final work Quatro pezzi sacri (Four Sacred Pieces) published in 1897.
Rigoletto
Rigoletto is based on a libretto by Francesco Maria Piave, which itself is based on the play Le roi s'amuse by Victor Hugo. Le roi s'amuse is roughly translated as “The King Amuses Himself”, but Piave’s libretto would make significant changes to Hugo’s play before the opera’s premiere. The opera had a successful opening at La Fenice Theatre in Venice on March 11, 1851.
Commissioned by La Fenice in 1850, and by that time Verdi had some freedom to choose the subject and texts for his operas. After rejecting some initial options, he turned to Hugo’s Le roi s'amuse which was controversial to say the least. The play had been banned in France after the first performance in 1832, not being performed again there until 1882. While Verdi considered it a tremendous subject for an opera, with great main characters and drama, the play was a depiction of a vain and womanizing king (meant to portray King Francis I of France) was absolutely scandalous at the time. Verdi and Piave knew the libretto would have to be approved by the Austrian Board of Censors which controlled northern Italy at the time. Indeed the Austrian censor forbade the opera in its draft form, declaring it "a repugnant [example of] immorality and obscene triviality”. Ouch.
After much negotiation including changing the names and places in the opera and deleting or substantially changing a few of the more objectionable scenes, Verdi landed on using the Duke of Mantua in place of the King (even though neither the position of Duke of Mantua nor his lineage from the House of Gonzaga existed anymore by 1850). The hunchback jester was renamed Rigoletto (from the French word rigoler meaning “funny”) the name taken from another French play of the period. Hence the title for the opera.
The cast of characters is as follows:
Rigoletto, the Duke's jester baritone
Gilda, his daughter soprano
Duke of Mantua tenor
Sparafucile, a murderer for hire bass
Maddalena, his sister contralto
Giovanna, Gilda's Nurse mezzo-soprano
Count Ceprano bass
Countess Ceprano, his wife mezzo-soprano
Matteo Borsa, a courtier tenor
Count Monterone baritone
Marullo baritone
A Court Usher bass
A Page mezzo-soprano
Rigoletto is the first opera from Verdi’s so-called “middle period” where he blossomed into a superstar composer. What characterizes this period is Verdi’s use of narrative to form a more cohesive storyline instead of just relying on arias. The arias are there of course, but scenes are more “through-composed” than his previous operas. It is also fair to say Verdi found his true musical voice for melody and drama at this point as Rigoletto contains some of the most ravishing, emotional, and thrilling music in his entire output. Some favorite numbers for me personally include Questa or quella, Parmi veder le lagrime, Possente amor, and La donna è mobile (Duke), Caro nome and Figlia!...Mio padre! (Gilda), and Pari siamo and Povero Rigoletto!...La ra, la ra (Rigoletto).
Although the opera quickly became very popular with audiences and was a box office success, some critics criticized the harsh and essentially repulsive story. Some even found it to be evil and shoddy. Suffice it to say the opera presents a lot of moral ambiguity, poor behavior, and sadness. None of these considerations matter much today, as it is one of the most often performed operas in the world.
For the sake of length, I will not put the full synopsis on this post, but it is easy to find online. Here is a good summary from Opera 101:
https://theopera101.com/operas/rigoletto/
The Essential Recording
Any successful Rigoletto must have strong singers and actors in the three main roles of the Duke, Gilda, and Rigoletto. The score is demanding on singers, particularly the Duke (tenor), and so any weak link in those three roles will render a recording to be a non-contender.
For me no other recording of Rigoletto can match the 1971 Decca recording with Luciano Pavarotti as the Duke, Joan Sutherland as Gilda, and Sherrill Milnes as Rigoletto. Recorded in Kingsway Hall, London with the London Symphony Orchestra led by Richard Bonynge, this is truly enjoyable from start to finish. The main reason this recording stands above the rest is Pavarotti’s incredible singing. Yes, Sutherland is very good (if a rather mature Gilda at the age of 44 when this recording was made) and Milnes is superb in the title role, second only to Tito Gobbi (see below) in my estimation. But it is Pavarotti that steals the show. In the early 70s his voice was at its peak in terms of its golden tone, excellent diction, and thrilling high notes. I am always astounded by the high D he hits in Possente Amor, an aria that is often cut entirely from the opera due to the difficulty for the tenor. Pavarotti’s La donna e mobile is thrilling as it should be, and the Parmi veder le lagrime shows the breadth of his talent. He would go on to record Rigoletto twice more later, but it is hard to understand why.
Sutherland’s Caro nome is among the finest on record as well, and she is particularly successful with the florid notes in comparison to other sopranos. She is also able to bring enough of a youthful innocence to the role to be believable.
Milnes was also in his prime, and he was a complete singer and actor. He also recorded the role of Rigoletto on other occasions, but this one is the best. His legato style and sensitive phrasing are perfect for the role. Only 36 at the time of this recording, in the same year 1971 he would also record roles in FIVE other operas. He was a hot commodity, and it is easy to see why.
Bonynge’s conducting is incisive and dramatic, and the LSO sounds wonderful. The warmth and detail we expect from Decca is there as well as the sound is excellent. If you were put off by Pavarotti’s showboating in his later years or by some of the schmaltzy and gimmicky projects he was involved in, you should really hear this. At his best he was the finest tenor of the 20th century, and this may be his finest opera recording. Not to be missed.
Recommended Recordings
At the outset once again, I have to mention the contribution of reviewer Ralph Moore from Music Web International, as he has led me to several terrific recordings I did not know well.
Even though in somewhat rough mono sound, the 1945 live recording from the Metropolitan Opera Orchestra and Chorus with main soloists tenor Jussi Björling as the Duke, Brazilian soprano Bidú Sayão as Gilda, and American baritone Leonard Warren as Rigoletto is a landmark recording. Conducted by Cesare Sodero, the performance should be heard for Björling if for nothing else. But there is a lot more. Warren sang frequently at the Met, and also recorded the title role other times. Although I would not put him with Gobbi and Milnes, he is quite affecting in the role and brings a lot of character to his singing. Sayão had just the right mix or girlishness in her voice, along with the requisite power and emotion demanded of the role, to bring off Gilda very well. She would not rank with Sutherland or Callas in my book, but she is nevertheless effective. I was really not acquainted with Cesare Sodero, but I find his conducting invigorating and idiomatic in the best Italian tradition. I listen to the version on the Naxos label, but Sony has also remastered it. To be honest I prefer the Naxos version.
The 1950 studio recording in mono sound directed by Italian conductor Renato Cellini with American tenor Jan Peerce as Duke, soprano Erna Berger as Gilda, and Leonard Warren as Rigoletto. They are accompanied by the RCA Italian Orchestra and the Robert Shaw Chorale. Originally on RCA but reissued on various other labels. The sound is again not modern, but it is quite listenable. Warren recorded the title role several times, but this is probably his best. He was one of the most lauded and reliable Rigolettos of his time. I knew Peerce from his appearance on several Toscanini recordings, and I was never particularly fond of his tone because I found it slightly pinched and whiny. But this recording has completely changed my perspective on his voice. He creates a uniquely wicked sounding Duke, but also has all the heroic high notes and everything in between. His vocal acting is superb. Berger was unknown to me, but she exhibits a delightful, beautiful tone and is fully characterized as Gilda. Cellini is direct and forceful in his direction, leading to a dramatic production. A real sleeper in Rigoletto recordings.
The classic 1955 recording featuring legendary soprano Maria Callas as Gilda, the great tenor Giuseppe Di Stefano as the Duke, and another legend in baritone Tito Gobbi as Rigoletto remains one of the top recommendations and has never really been out of the catalog. Led by the venerable Tullio Serafin and accompanied by the Teatro alla Scala Orchestra and Chorus, this was recorded only two years after Callas, Di Stefano, and Gobbi created magic in their studio recording of Puccini’s Tosca. Gobbi creates one of the most memorable Rigolettos on record, and while he may not be the most vocally pure or thrilling, the way he “acts” through his voice has never been matched by any other baritone. Di Stefano is involved and heroic of voice, a credible Duke if not particularly sinister. I have always found Di Stefano’s voice somewhat nasal in the higher register even in the 1950s (he would have more significant vocal issues later), which to me leads to some notes sounding slightly flat. Still, he brings the goods dramatically and certainly sounds good overall. Callas was in her absolute prime, and I am a huge fan of her on this recording. She doesn’t necessarily have the innocence or vulnerability in her tone as some others, but her characterization is peerless, and the emotional core of her performance is unique and palpable. Serafin is an assured and confident leader in this music, and the La Scala forces bring to life a score they probably know well. The sound from EMI is very good early stereo, although it is reported that Pristine Audio’s remastering has improved the sound even more. This was my first Rigoletto, and still one of the very best.
Fast forward a bit to 1963 and we have the opera recorded by Sir Georg Solti and the RCA Italian Orchestra and Chorus on RCA (now Sony) with soloists Alfredo Kraus as the Duke, soprano Anna Moffo as Gilda, and baritone Robert Merrill as Rigoletto. This is a full-blooded performance, with Merrill and Moffo being particularly outstanding. Kraus is better than average as the Duke, though I am not the biggest fan of his voice and there are a few times he pushes things too far vocally. He is no match for Pavarotti or Björling. On the other hand, he is easily believable as the morally compromised Duke and at times sounds thrilling. Solti is much better than I expected, especially as this would have been recorded when he was still in the midst of recording his celebrated Wagner Ring cycle for Decca. I find Solti nearly ideal throughout, and although he pushes the drama on occasion, in general he leaves plenty of room for the singers to make the most of their roles. The sound is very good for 1963.
Finally, there is the 1985 digital RCA recording of a live radio broadcast featuring Bernd Weikl in the title role, Lucia Popp as Gilda, and tenor Giacomo “Jaume” Aragall as the Duke. Lamberto Gardelli leads the Munich Radio Orchestra and Chorus. Some may protest Weikl’s portrayal as lacking in weight compared to some others, but his characterization is clear and dramatic. I have always loved Popp’s voice and even though she is a tad on the older side for Gilda, her voice is still thrilling and effective. Catalan tenor Aragall was one of the most underrated and under recorded of his generation and the quality of his voice lends itself well to the character of the Duke. A few times his Italian pronunciation slips into something closer to Spanish, but it matters little when his singing and acting are so good. His Possente amor alone is worth hearing. Gardelli is reliable in leading the Munich orchestra.
DVD Recommendation
If you are looking for a DVD video of Rigoletto, my recommendation would be the 2008 Teatro Regio di Parma production led by conductor Massimo Zanetti. Gilda is sung by Nino Machaidze, the Duke is tenor Francesco Demuro, Rigoletto is sung by the great baritone Leo Nucci. Filmed for C Major Entertainment with Unitel, the filming is exceptionally good. Even though I was not familiar with the soprano and tenor, they fully acquit themselves with memorable performances.
Other Recordings of Note
Rome Opera House and Chorus / Ionel Perlea (RCA, 1956)
Naples San Carlo Opera Orchestra and Chorus / Francesco Molinari-Pradelli (Philips, 1959)
Maggio Musicale Fiorentino Orchestra and Chorus / Gianandrea Gavazzeni (Andromeda, 1960)
See you next time when our subject will be #46 Beethoven’s epic Piano Concerto no. 5 “Emperor”. Hope you will join me.
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Notes:
Brandenburg, Daniel (2012). Verdi:Rigoletto. Bärenreiter. ISBN 978-3-7618-2225-8.
Downes, Olin (1918). The Lure of Music: Depicting the Human Side of Great Composers. New York: Harper & Brothers. ISBN 978-1417928965.
Engler, Günter (2000). Über Verdi (in German). Ditzingen: Reclam. ISBN 978-3-15-018090-7.
Hugo, Adèle (1863). Victor Hugo. Translated by Charles Edwin Wilbour. New York: Carleton.
Kimbell, David (1985). Verdi in the Age of Italian Romanticism. Cambridge: Cambridge University Press Archive. ISBN 0-521-31678-2.
Moore, Ralph. Verdi’s Rigoletto – a discographical conspectus. Online at MusicWeb International.
Phillips-Matz, Mary Jane (1993). Verdi: A Biography. London & New York: Oxford University Press. ISBN 0-19-313204-4.
Rahim, Sameer (3 April 2012). "The opera novice: Rigoletto by Giuseppe Verdi". The Daily Telegraph. London. Retrieved 9 March 2013.
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